Presented by Sir John Harrington to King James in 1604 as an attempt to win the new sovereign's favor and patronage, this invaluable manuscript, long thought to be lost, is here published for the first time. It consists of 162 neatly hand-written pages, including an epistle to the king, and Cauchi includes parallel English and Latin texts, marginal explanatory notes, a full introduction and commentary that set the work in the context of Harington's life and literary career, and a complete index.
Many scholars have been calling for a new edition of Sir John Harington's Epigrams. Gerard Kilroy, using the three manuscripts arranged and revised by the author, offers the first complete text in print of Harington's four hundred Epigrams, uncovers Harington's elaborate design of forty theological decades, and restores the emblems and political elegies that Harington uses to frame his complete collection and define its serious purpose.
This book covers the period from the beginning of Elizabeth's reign to the start of the English Civil War, during which time there were thirteen authors who composed substantial translations of Virgil's epic.
Sir John Harington (1560-1612) has long been recognized as one of the most colorful and engaging figures at the English Renaissance court. Godson of Queen Elizabeth, translator of Ariosto, and inventor of the water-closet, he was also a lively writer in a wide variety of modes, and an acute commentator on his times. Combining detailed readings and first-hand historical research, this study reconstructs the complex, often devious agenda that Harington wrote into his books as he customized them for specific individuals and occasions.
Early Augustan Virgil makes accessible a substantial text by a pioneer in couplet writing and in the theory and practice of translation, vindicating Pope's distinction when he enjoins his reader to "praise the easy vigor of a line,/ Where Denham's strength and Waller's sweetness join." The volume thus puts Denham's version of Virgil sympathetically into a context where it can be seen to make an important contribution to the development of the English Augustan style, thus making a case for the formative influence of classical translation upon the development of English poetry. It also makes a contribution to the reception of Virgil and will be of interest to readers of classical and English poetry alike. --Book Jacket.
Beginning with the last years of the reign of Elizabeth I and ending late in the seventeenth century, this volume traces the growth of the literary marketplace, the development of poetic genres, and the participation of different writers in a century of poetic continuity, change, and transformation.
The Oxford History of Poetry in English (OHOPE) is designed to offer a fresh, multi-voiced, and comprehensive analysis of 'poetry': from Anglo-Saxon culture through contemporary British, Irish, American, and Global culture, including English, Scottish, and Welsh poetry, Anglo-American colonial and post-colonial poetry, and poetry in Canada, Australia, New Zealand, the Caribbean, India, Africa, Asia, and other international locales. OHOPE both synthesizes existing scholarship and presents cutting-edge research, employing a global team of expert contributors for each of the fourteen volumes. By taking as its purview the full seventeenth century, 1603-1700, this volume re-draws the existing literary historical map and expands upon recent rethinking of the canon. Placing the revolutionary years at the centre of a century of poetic transformation, and putting the Restoration back into the seventeenth century, the volume registers the transformative effects on poetic forms of a century of social, political, and religious upheaval. It considers the achievements of a number of women poets, not yet fully integrated into traditional literary histories. It assimilates the vibrant literature of the English Revolution to what came before and after, registering its long-term impact. It traces the development of print culture and of the literary marketplace, alongside the continued circulation of poetry in manuscript. It places John Milton, Andrew Marvell, Margaret Cavendish, and Katherine Philips and other mid-century poets into the full century of specifically literary development. It traces continuity and change, imitation and innovation in the full-century trajectory of such poetic genres as sonnet, elegy, satire, georgic, epigram, ode, devotional lyric, and epic. The volume's attention to poetic form builds on the current upswing in historicist formalism, allowing a close focus on poetry as an intensely aesthetic and social literary mode. Designed for maximum classroom utility, the organization is both thematic and (in the authors section) chronological. After a comprehensive Introduction, organizational sections focus on Transitions; Materiality, Production, and Circulation; Poetics and Form; Genres; and Poets.
